Synopsis
Tokiko leads a double-life as an office typist
and the mistress of a retired champion boxer and
small-time ringleader named Jyoji. Hiroshi, a
new recruit to the gang, hero worships Jyoji and
neglects his studies. Hiroshi's sister Kazuko
begs Jyoji to spare her brother from their shady
dealings, but inadvertently casts a spell on Jyoji.
After several reversals, Jyoji returns to Tokiko's
arms. They decide to come clean, but not before
pulling one last job to help Hiroshi and Kazuko.

Thoughts from OzuAnother work with a yakuza theme since Walk
Cheerfully. It's a melodrama.

BackgroundThe
29th film, shot from February to the beginning
of April 1933. This is a typical apartment film.
The Japanese Film Library has started its activity
in the 1960s. Almost all of Ozu's film up to 1933
had never been shown again after their original
release and were buried until their re-discovery
in the 1970s. Therefore, they were not the object
of the studies on Ozu for a long time, and the
controversies about the influence of American
films on his work started only after this discovery.
Along with Woman of Tokyo, Dragnet Girl
represents the height of Ozu's silent film
technique. However some of the difficulties can
be felt concerning the casting. The role of the
small tart is not in the line of Kinuyo Tanaka,
whose Dancing Girl From Izu (Izu no
odoriko, directed by Gosho Heinosuke, 1933)
was released less than three months before. The
young idol Mizukubo Sumiko, who appeared in A
Maiden in the Wind (Kaze no naka no shojo,
directed by Shimazu Yasujiro, 1932) looks many
years younger than Mitsui Hideo, although she
is supposed to be elder and responsible. Probably,
their star value counted for their appearance
in this film. The established opinion, that his
films do not attract the public, could not be
ignored by Ozu. Of course, the scenes are full
of Western or better still, American taste. Everything
was imported, even the cans. However, the dominating
modernism element in this film is certainly the
boxing. At first sight, Ozu and boxing seems to
be strange combination, but this is not the case.
Ozu did his military service (one year as volunteer,
from December 1924 to November 1926) at the same
time as Ogino Sadayuki, Japan's first recognized
champion. Afterwards, Ogno entered Kamata studio
as an actor and starred in some boxing films.
In his middle-school days, Ozu belonged to the
judo club; he was of large build and strong constitution,
and was interested in fighting ports. Unlike the
traditional Japanese sports sumo and judo, boxing
was considered an international and fashionable
sport. The special support of the Imperial Boxing
Society (Teikou Kento Kai) appeared in the credit
titles of Dragnet Girl. This society was
founded by Ogina. At the time of its release,
Dragnet Girl was not so much appraised
as Woman of Tokyo, probably because the
latter unintentionally reflected the tendency
of the time. The difficulty of judging a film
rooted in his time becomes clear here.

Personal
Thoughts and CommentsDragnet Girl is a rare look at a more stylistic
filmmaker at least in terms of the flashy methods
he went about his techniques. Ozu has said he
barely remembers ever making the film, but you
get the sense that the entire cast and crew had
a blast making it. This is Ozu's third and last
film in the gangster genre (Walk Cheerfully
and That Night's Wife being the others),
and the influence of his love for old Hollywood
films are very evident in style and substance.
While Dragnet Girl may not be the most
complex or definitive work of Ozu's remarkable
career, it does mark a rare glimpse at his early
Hollywood influences as well as his own roots
that would develop into a master (certainly his
use of visual objects as a form of emotional expression
is evident here). As a genre film, Dragnet
Girl is incredibly thrilling. It is unfortunate
the musical score of the film has been lost as
a jazzy score could certainly flow within the
cool tone and atmosphere of the films nightclub/pool
room/boxing gym. Cool is really a great word to
describe this film and most specifically the lead
performance by the great Kinuyo Tanaka. She is
terrific here as the tough moll with a strong
heart and moral character. Tanaka starred in several
of Ozu's early silent films, but she became most
remembered for her many collaborations with Kenji
Mizoguchi, before she became the first woman director
in Japanese cinema. Dragnet Girl is stylish
and pulp filmmaking at it's best. While Ozu would
go on to make more significant work in both the
sound and silent eras, Dragnet Girl remains irresistibly
inviting. Loaded with sweeping style (tracking
shots, expressionistic lighting) Dragnet Girl
is an effective mix of suspense, comedy, and melodrama
within the conventions of a genre film. It is
fun because this is a rare look at Ozu in an uncharacteristically
"busy" mode of filmmaking, yet the perfect
rhythm, master control of visual storytelling,
and trademark visual motifs still make Dragnet
Girl notably Ozu. Not his greatest silent
work, but this is definitely a great one.